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Reggae & Dancehall 50 Items

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S.E. Rogie - Dead Men Don't Smoke Marijuana
Delroy Wilson - It's A Shame
Delroy Wilson
It's A Shame
7" | 2022 | JP | Original (Fashion)
34,99 €*
Release:2022 / JP – Original
Genre:Reggae / Dancehall
Preorder shipping from 12.08.2022
Winsome / A-Class Crew - Am I The Same Girl / Soulful Strut
Keith & Tex - Redux
Frightnrs, The - Always
Frightnrs, The
Always
CD | 2022 | US | Original (Daptone)
16,99 €*
Release:2022 / US – Original
Genre:Reggae / Dancehall
Before Dan Klein's unfortunate passing, The Frightnrs agreed to keep a promise he asked of them - continue making music together. Part of that promise has been made manifest here... Daptone Records is proud to present Always - the raw, soulful new long player from The Frightnrs.

The road to Always began with a period of intense songwriting back when The Frightnrs and producer Victor Axelrod (Ticklah) were working on the group's debut, rocksteady masterpiece, Nothing More to Say. In addition to the scorchers heard therein, Axelrod and The Frightnrs agreed many of the recordings were too sweet to tamper with in order to fit the rocksteady mold. Some were created at their headquarters in Queens with Dan on the mic, some were elaborations on older ideas, others were brand new creations made at the finish line.

Thanks to the vocal stems they had captured in this golden period, Dan Klein's other-worldly voice lived on, giving The Frightnrs all the raw material they needed for an entire album's worth of new, original music. So with that, The Frightnrs and Axelrod returned to the studio and painstakingly conceptualized, tracked, re-tracked and mixed them into a complete album with their beloved friend singing lead. The fruits of this arduous process lay bare the undying love and respect between musical brothers.

The last song written for this album, "Why Does it Feel Like a Curse", married two song concepts with one of Dan's original vocal performances - creating a beautiful, flawless composition that not only serves as a highlight reel of their editing skills and songwriting prowess, but also as a kind of metaphor for The Frightnrs jour ney. The per fect ending f or Always.
The Frightnrs - Always Colored Vinyl Edition
The Frightnrs
Always Colored Vinyl Edition
LP | 2022 | US | Original (Daptone)
29,99 €*
Release:2022 / US – Original
Genre:Reggae / Dancehall
unklar, ob farbige direkt von Daptone kommen.
The Frightnrs - Always Black Vinyl Edition
V.A. - Lovers Rock (The Soulful Sound Of Romantic Reggae)
Nocturnal Emissions - In Dub
Nocturnal Emissions
In Dub
LP | 2022 | EU | Original (Holuzam)
29,99 €*
Release:2022 / EU – Original
Genre:Electronic / Dance, Reggae / Dancehall
Preorder shipping from 01.07.2022
Back in 1980, The Pump sessions prefigured Nocturnal Emissions. The same personnel (Nigel and Daniel Ayers + Caroline K) was later credited in the first NE performance in March 1981. Throbbing Gristle and Cabaret Voltaire opened a path and a kind of DIY sound collage practice became popular in the underground. More punk than punk, right? With synth, bass, guitar and vocals, The Pump could almost be mistaken for a new wave band, but it was the start of a long, prolific and eclectic journey for Nigel Ayers, sole member of Nocturnal Emissions for quite a while now. Although it is not at all obvious, by 1980 Nigel had been exposed to a few dub tricks and mainly the otherwordly spatial sounds and breaks: «In the late 70s I became aware that dub producers such as Lee Scratch Perry, Prince Far I - and sound systems - were doing something with sound that was a very new and different approach. It was in the separation of recorded sound into very spatial elements, working very sculpturally with sound. I had absorbed the space concerns of Hendrix years before I got into dub, and the spatial elements within Gong, Hawkwind, early Pink Floyd, Velvet Underground, BBC Radiophonic Workshop, etc. When we did The Pump, we lived in Brixton and spent a lot of time absorbing dub in the streets and shebeens.»

Growing up in the Peak District (northern England) during the 1960s didn't put one directly in touch with black culture or music. There was one black kid at school and «to see a black person you'd have to go to Manchester or Sheffield.» And mainstream culture tends to ridicule outsider forms and expressions, so a popular idea of reggae came through in things such as the novelty single "Johnny Reggae" by The Piglets, released in 1971. By that time, Nigel was already listening to a few reggae singles his dad brought home from Sheffield, where he worked. He remembers the labels being scratched and thinking it must be because the records were so rude, meaning lyrical content. His artistic inclinations led him to spend more time at home trying out his skills with Super8 films and pasting soundtracks onto them. One of the first he remembers was a loop worked out from side B of one of those singles (the traditional instrumental Version on reggae singles). First heard about tape loops from "Dr Who" on TV, a weekly show that imprinted strange sounds and sights on kids' minds since the first episode in 1963. More experiments followed, loops and cut-ups recorded to cassette with full conscience that non-musicianly, non-conventional approaches were sanctioned by such names as Captain Beefheart and Brian Eno.

Punk made it easier for everyone aspiring to make a point with music, it created a context for rawness and spontaneity. «Punk was a necessary break from virtuosity, and a good thing. I dug punk, a lot of ideas about accessibility, tackling racism, sexism and species-ism, were brought to the foreground. And it created an infrastructure for the zine culture, and cassette culture, autonomous collectives & networked DIY.» Only the way most early punk bands recreated dub and reggae didn't strike a chord with Nigel Ayers: «That's more to do with questions of my own personal taste and preference, which is by no means fixed.» Things became more serious when "Tissue Of Lies" came out in 1980 and Nocturnal Emissions steadily became hot within the so-called industrial culture (or counterculture). Although never explicitly adopting a dub format, its techniques and inspiration certainly informed many of the more rhythmic tracks NE recorded over the years. «Personally I was trying to create something that integrated my own personal experience and had a focussed ethic in content, personnel, production and distribution. Women collaborators have been vital , for example, as active creators - not as set dressing. Caroline K (for example) had technical proficiencies that aren't often expected in a male-dominated music world, she ran her own studio and later became a telecommunications engineer.»

Come 2010 and the love of dub finally surfaced explicitly on a very limited "In Dub" CDR. All the space is there, some might say also the industrial weight and - dare we say it - the weight of crumbling capitalism (notoriously visible after 2008). There's a sort of robotic pace in these dry statements of political commentary, not really the same as in 80s digital dancehall or 90s digidub. It sounds like the kind of autonomous zone dreamed about since the punk and cut-up years and informed by all the accumulated background in electronic music and knowledge and respect for dub pioneers. "In Dub Volume 2" appeared in 2020, also strictly limited, framed by the early stages of the Covid experience, expanding on the same sonics, gently dragging the listener along for a thoughtful ride. The music on both volumes was recorded at leisure over a period of roughly 12 years and it hovers timelessly above. Heavily synthetic, learned and respectful music, alienated and in sync with the desire to escape (even if temporarily) to an artificial and abstract safe zone. We now present carefully selected tracks from both volumes, given a proper boost for vinyl by Douglas Wardrop (Bush Chemists, Conscious Sounds).
Kings Of Dub Rock, The (Jacques Palminger, Viktor Marek, Rica Blunck) - Dubbies On Top
V.A. - Burning It Up: Australian Reggae 1979-1986
V.A.
Burning It Up: Australian Reggae 1979-1986
LP | 2022 | EU | Original (Austudy)
33,99 €*
Release:2022 / EU – Original
Genre:Reggae / Dancehall
Preorder shipping from 15.07.2022
Austudy Records is proud to present it’s debut release Burning It Up: Australian Reggae (1979-1986). A compilation surveying the influence of Reggae on Australia’s preoccupation with Rock, Pop and New Wave between the years of 1979-1986. This selection of 8 obscure tracks originally issued on 7” records represent some of the earliest examples of Reggae sounds in Australian recorded music.
Loving Paupers, The - The Loving Paupers
Melbourne Douglas - Rudy Skankin On The Moon C/W The Regulators - Caymanas Park Rocket
Roger Rivas - 10 Plagues
Crazy Baldhead - Boots Embraces B/W Boots In Dub
Malandro Nine Five - Return Of Rondo
Buster Shuffle - Me, Myself & I C/W The 38
Joe Yorke - Crime
Captain Accident - Wings
Kitma - Forever Blue
Young Israelites - Stay By My Side C/W Keep Holding On
Crazy Baldhead - Cut Back B/W We Say (Dub Back)
Crazy Baldhead - Save A Bullet B/W Save A Dub
Perkie & Co-Operators, The - (Mama Was A) Bankrobber
Cosmic Shuffling - Short Break C/W Eastern Ska
Phoenix City All-Stars - I Can't Get No Satisfaction Feat. Freddie Notes
Roger Rivas - Heading West C/W One Last Dance
Roger Rivas - Brown Star Liner C/W Autumn Breeze
Marcus I - Soul Warrior
Bandulus, The - Dear Lord
Dub Shepherds & Jahno - Heavy Manners
Sis Nya - You Call It Pressure B/W Manwel T
Zoob & Co-Operators, The - Up Trooper's Hill
Gt Moore & Reggae Guitars, The - People (Who Kill People)
Crazy Baldhead - There's Something
Sarah Gleeson - Everything
Tight Spot - Time Heals Everything
Loving Paupers, The - Don't Care
Crazy Baldhead - Drummin' For Don
Flying Vipers - The Gorgon Strikes Back
Kitma - Runnin
Caroloregians - From The Congo Square C/W You Got To Be A Man
Pama International - Socially Distant
Abeng - Sun Will Rise
Abeng
Sun Will Rise
12" | 2022 | EU | Original (Dig This Way)
13,99 €*
Release:2022 / EU – Original
Genre:Reggae / Dancehall
Preorder shipping from 24.06.2022
We are glad to present to you the 1st Abeng Maxi 12'' : "Sun Will Rise" and "Eastern Lights" are two instrumentals based on the same riddim, one a way style Roots & Culture Music done during the LockDown of 2020. Mix and Dubwises are handled by Roberto Sanchez at A-Lone Ark Muzik Studio (es) , ready to play loud on your HiFi or Sound System!
Sherrie B - Nah Tek It (Interplanetary Criminal Remix) / Original Mix
Sherrie B
Nah Tek It (Interplanetary Criminal Remix) / Original Mix
7" | 2022 | EU | Original (Rhythm Discs!)
13,99 €*
Release:2022 / EU – Original
Genre:Reggae / Dancehall
Preorder shipping from 10.06.2022
Sherrie B's super rare Nah Tek It gets the remix treatment from Interplanetary Criminal - flexing acid tinged basslines & 2-step FWD drums.
Holy Tongue - III
Holy Tongue
III
12" | 2022 | EU | Original (Amidah)
13,99 €*
Release:2022 / EU – Original
Genre:Reggae / Dancehall
Preorder shipping from 10.06.2022
One per customer only! Holy Tongue (Al Wootton and Valentina Magaletti) return for their third EP of percussive, shamanic, post-punk dub. From the high energy dance-punk of ‘Spirit Mask’ to the meditative dub of ‘Rivers Cannot Wash It Away’, the duo exercise their deep and dubwise heavyweight sound.
Peter Metro / Daddy Culture - Dancing Spirit
Peter Metro / Daddy Culture
Dancing Spirit
12" | 2022 | UK | Original (Tuff Scout)
16,99 €*
Release:2022 / UK – Original
Genre:Reggae / Dancehall
Tuff Scout come through with some crucial riddims here from Peter Mereo and Daddy Culture. Metro goes first with his particularly natty 'Dancing Spirit', the intense vocal work never letting up over the suspenseful chords that drop in from great height. A dub version pairs things back to the heavy weight drums and bass. On the flip is 'Give Them Style', a digi-dub stepper with shiny synths bringing electric feels to the plucked acoustic guitar and lumpy drum work. All three tunes are primed and ready for sound system deployment this summer and beyond.
Tony Allen - Secret Agent 2022 Remaster
Mouth - Voyage To The Bottom Of The Sea 2022 Repress
Mouth
Voyage To The Bottom Of The Sea 2022 Repress
12" | 2016 | EU | Reissue (Emotional Rescue)
17,99 €*
Release:2016 / EU – Reissue
Genre:Organic Grooves, Electronic / Dance, Reggae / Dancehall
Emotional Rescue looks back again with a 2022 repress, digging deep in to the early 80s Bristol post punk scene of Pig Pag, the Wild Bunch and the Dug Out club. A short lived project of just 3 releases, Mouth trail-blazed leftfield percussive jams in the rich vain of Liquid Liquid and ESG but in their own jazz-infused way. Centered round the cultural melting post of the St Paul's district, it's pubs, clubs and blues parties threw together young and old to the sounds of dub, funk, jazz and soul and took the spark lit by punk rock and new wave and spawned music that still resonates today. Consisting of a floating line up based around main members Andy Guy and Rob Merrill, alumina included a young Nellie Hooper before he would go on to be a founding member of the Wild Bunch and on to produce the likes of Bjork, U2 and Madonna. Based around a hard tribal drumming, mixing guitar, trumpet, shouted vocals and effects, the thrown in the mix nature was inspired as much by avant-jazz than punk's do it yourself attitude. Here then, on one EP are their complete recordings, including as the title cut, their best and deepest, Voyage To The Bottom Of The Sea. Featured on a compilation LP from the legendary Y Records, its bottom heavy dub sound is augmented by female and toasted vocals riding a top a heavy stepper style riddim. This is followed by an increasingly dizzy array of percussion jams. Acab Part 2) is all skips and trumpets, while the versions of Take Your Coat Off perfect skat vocal / tom interplay, before the finale busts out the rockabilly influences in full effect with jagged guitar, skipping hats meets double bass punk style.
Ernest Ranglin - Be What You Want Be 2022 Repress
Ernest Ranglin
Be What You Want Be 2022 Repress
12" | 1983 | EU | Reissue (Emotional Rescue)
17,99 €*
Release:1983 / EU – Reissue
Genre:Organic Grooves, Reggae / Dancehall
Emotional Rescue is delighted to reissue for the first time, the legendary Ernest Ranglin teaming up with Noel Williams aka King Sporty, on this 1983 meeting of reggae guitar legend and Miami disco boogie don that resulted in this highly sought after 6 track mini-LP. A defining guitarist and composer in the development of Jamaican music, Ranglin leads little introduction. In a career spanning over 50 years, he was involved in the move from mento and calypso to ska and on to reggae, playing on the groundbreaking recording of My Boy Lollipop itself, before going on to work with the likes of the Skatalies, Prince Buster, Jimmy Cliff and Bob Marley. Born in 1932 in Manchester, West Jamaica before moving to Kingston, Ranglin's self-taught chordal and rhythmic approach blended jazz, mento and reggae with percussive guitar solos. On moving to Florida in 1982, he teamed up with scene king, Williams to present 'a new style', mixing the bass heavy boogie disco the producer was famous for with Ranglin's unique playing. Featuring a who's who of the Miami scene including Bobby Caldwell, Timmy Thomas, Betty Wright and Williams himself, the rearranged order starts here with Soft Touch. A retake of Thomas' TK Disco and Cosmic) classic Africano, before a skanking remake of the William's standard, Keep On Dancing and title bomber Be What You Want Be, crown the match of reggae and vocal disco. Also, included is a beautiful take on Anthony Hester's R&B classic, In The Rain, while the record closes with the choice Papa "Doo" and jammer Why Not.
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